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Me trying to find my exit when driving in metropolis 

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Me trying to find my exit when driving in metropolis 

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Ridley Scott watched this and made blade runner

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Ridley Scott watched this and made blade runner

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I really wish Han Zimmer would score a silent film

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I really wish Han Zimmer would score a silent film

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Hollywood should make using miniatures the industry standard for large projects like how DUNE did.

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Hollywood should make using miniatures the industry standard for large projects like how DUNE did.

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I love how metropolis can look like a painting sometimes. (like the imagery) 

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I love how metropolis can look like a painting sometimes. (like the imagery) 

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kind of amazing how true Robert Eggers stuck to the OG film

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kind of amazing how true Robert Eggers stuck to the OG film

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so much equipment to carry to the top if those mountains in Nosferatu

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so much equipment to carry to the top if those mountains in Nosferatu

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I love the historical tie in of the plague in Nosferatu 

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I love the historical tie in of the plague in Nosferatu 

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The Castle of Otranto (1764) is regarded as the first Gothic novel. The aesthetics of the book have shaped modern-day gothic books, films, art, music and the goth subculture.[1]

Gothic fiction, sometimes called Gothic horror (primarily in the 20th century), is a loose literary aesthetic of fear and haunting. The name refers to Gothic architecture of the European Middle Ages, which was characteristic of the settings of early Gothic novels.

The first work to call itself Gothic was Horace Walpole's 1764 novel The Castle of Otranto, later subtitled "A Gothic Story". Subsequent 18th-century contributors included Clara Reeve, Ann Radcliffe, William Thomas Beckford, and Matthew Lewis. The Gothic influence continued into the early 19th century; works by the Romantic poets, and novelists such as Mary Shelley, Charles Maturin, Walter Scott and E. T. A. Hoffmann frequently drew upon gothic motifs in their works.

The early Victorian period continued the use of gothic aesthetic in novels by Charles Dickens and the Brontë sisters, as well as works by the American writers Edgar Allan Poe and Nathaniel Hawthorne. Later well-known works were by Bram Stoker, Richard Marsh's and Robert Louis Stevenson's Strange Case of Dr Jekyll and Mr Hyde. Twentieth-century contributors include Daphne du Maurier, Stephen King, Shirley Jackson, Anne Rice, and Toni Morrison.

Gothic fiction is characterized by an environment of fear, the threat of supernatural events, and the intrusion of the past upon the present. The setting typically includes physical reminders of the past, especially through ruined buildings which stand as proof of a previously thriving world which is decaying in the present. Especially in the eighteenth and nineteenth centuries, characteristic settings include castles, religious buildings like monasteries and convents, and crypts. The atmosphere is typically claustrophobic, and common plot elements include vengeful persecution, imprisonment, and murder. The depiction of horrible events in Gothic fiction often serves as a metaphorical expression of psychological or social conflicts. The form of a Gothic story is usually discontinuous and convoluted, often incorporating tales within tales, changing narrators, and framing devices such as discovered manuscripts or interpolated histories. Other characteristics, regardless of relevance to the main plot, can include sleeplike and deathlike states, live burials, doubles, unnatural echoes or silences, the discovery of obscured family ties, unintelligible writings, nocturnal landscapes, remote locations, and dreams. Especially in the late 19th century, Gothic fiction often involved demons and demonic possession, ghosts, and other kinds of evil spirits.

Strawberry Hill, an English villa in the "Gothic Revival" style, built by Gothic writer Horace Walpole

The Gothic Temple folly in the gardens at Stowe, Buckinghamshire, UK, built as a ruin in 1741, designed by James Gibbs[8]

Gothic literature is strongly associated with the Gothic Revival architecture of the same era. English Gothic writers often associated medieval buildings with what they saw as a dark and terrifying period, marked by harsh laws enforced by torture and with mysterious, fantastic, and superstitious rituals. Similar to the Gothic Revivalists' rejection of the clarity and rationalism of the Neoclassical style of the Enlightened Establishment, the literary Gothic embodies an appreciation of the joys of extreme emotion, the thrills of fearfulness and awe inherent in the sublime, and a quest for atmosphere. Gothic ruins invoke multiple linked emotions by representing inevitable decay and the collapse of human creations - hence the urge to add fake ruins as eyecatchers in English landscape parks.

Placing a story in a Gothic building serves several purposes. It inspires feelings of awe, implies that the story is set in the past, gives an impression of isolation or dissociation from the rest of the world, and conveys religious associations. Setting the novel in a Gothic castle was meant to imply a story set in the past and shrouded in darkness. The architecture often served as a mirror for the characters and events of the story. The buildings in The Castle of Otranto, for example, are riddled with tunnels that characters use to move back and forth in secret. This movement mirrors the secrets surrounding Manfred's possession of the castle and how it came into his family.

From the castles, dungeons, forests, and hidden passages of the Gothic novel genre emerged female Gothic. Guided by the works of authors such as Ann Radcliffe, Mary Shelley, and Charlotte Brontë, the female Gothic allowed women's societal and sexual desires to be introduced. In many respects, the novel's intended reader of the time was the woman who, even as she enjoyed such novels, felt she had to "[lay] down her book with affected indifference, or momentary shame," according to Jane Austen. The Gothic novel shaped its form for woman readers to "turn to Gothic romances to find support for their own mixed feelings."

Female Gothic narratives focus on such topics as a persecuted heroine fleeing from a villainous father and searching for an absent mother. At the same time, male writers tend towards the masculine transgression of social taboos. The emergence of the ghost story gave women writers something to write about besides the common marriage plot, allowing them to present a more radical critique of male power, violence, and predatory sexuality.

When the female Gothic coincides with the explained supernatural the natural cause of terror is not the supernatural, but female disability and societal horrors: rape, incest, and the threatening control of a male antagonist. Female Gothic novels also address women's discontent with patriarchal society, their difficult and unsatisfying maternal position, and their role within that society. Women's fears of entrapment in the domestic, their bodies, marriage, childbirth, or domestic abuse commonly appear in the genre.

After the characteristic Gothic Bildungsroman-like plot sequence, female Gothic allowed readers to grow from "adolescence to maturity" in the face of the realized impossibilities of the supernatural. As protagonists like Adeline in The Romance of the Forest learn that their superstitious fantasies and terrors are replaced by natural cause and reasonable doubt, the reader may grasp the heroine's true position: "The heroine possesses the romantic temperament that perceives strangeness where others see none. Her sensibility, therefore, prevents her from knowing that her true plight is her condition, the disability of being female."

'Tis now the very witching time of night,
When churchyards yawn, and hell itself breathes out
Contagion to this world. Now could I drink hot blood,
And do such bitter business as the day
Would quake to look on.

The components that would eventually combine into Gothic literature had a rich history by the time Walpole presented a fictitious medieval manuscript in The Castle of Otranto in 1764.

The plays of William Shakespeare, in particular, were a crucial reference point for early Gothic writers, in both an effort to bring credibility to their works, and to legitimize the emerging genre as serious literature to the public. Tragedies such as , , , Romeo and Juliet, and Richard III, with plots revolving around the supernatural, revenge, murder, ghosts, witchcraft, and omens, written in dramatic pathos, and set in medieval castles, were a huge influence upon early Gothic authors, who frequently quote, and make allusions to Shakespeare's works.

John Milton's Paradise Lost (1667) was also very influential among Gothic writers, who were especially drawn to the tragic anti-hero character Satan, who became a model for many charismatic Gothic villains and Byronic heroes. Milton's "version of the myth of the fall and redemption, creation and decreation, is, as Frankenstein again reveals, an important model for Gothic plots."

Alexander Pope, who had a considerable influence on Walpole, was the first significant poet of the 18th century to write a poem in an authentic Gothic manner. Eloisa to Abelard (1717), a tale of star-crossed lovers, one doomed to a life of seclusion in a convent, and the other in a monastery, abounds in gloomy imagery, religious terror, and suppressed passion. The influence of Pope's poem is found throughout 18th-century Gothic literature, including the novels of Walpole, Radcliffe, and Lewis.

Gothic literature is often described with words such as "wonder" and "terror." This sense of wonder and terror that provides the suspension of disbelief so important to the Gothic-which, except for when it is parodied, even for all its occasional melodrama, is typically played straight, in a self-serious manner-requires the imagination of the reader to be willing to accept the idea that there might be something "beyond that which is immediately in front of us." The mysterious imagination necessary for Gothic literature to have gained any traction had been growing for some time before the advent of the Gothic. The need for this came as the known world was becoming more explored, reducing the geographical mysteries of the world. The edges of the map were filling in, and no dragons were to be found. The human mind required a replacement. Clive Bloom theorizes that this void in the collective imagination was critical in developing the cultural possibility for the rise of the Gothic tradition.

The setting of most early Gothic works was medieval, but this was a common theme long before Walpole. In Britain especially, there was a desire to reclaim a shared past. This obsession frequently led to extravagant architectural displays, such as Fonthill Abbey, and sometimes mock tournaments were held. It was not merely in literature that a medieval revival made itself felt, and this, too, contributed to a culture ready to accept a perceived medieval work in 1764.

The Gothic often uses scenery of decay, death, and morbidity to achieve its effects (especially in the Italian Horror school of Gothic). However, Gothic literature was not the origin of this tradition; it was far older. The corpses, skeletons, and churchyards so commonly associated with early Gothic works were popularized by the Graveyard poets. They were also present in novels such as Daniel Defoe's A Journal of the Plague Year, which contains comical scenes of plague carts and piles of corpses. Even earlier, poets like Edmund Spenser evoked a dreary and sorrowful mood in such poems as Epithalamion.

All aspects of pre-Gothic literature occur to some degree in the Gothic, but even taken together, they still fall short of true Gothic. What needed to be added was an aesthetic to tie the elements together. Bloom notes that this aesthetic must take the form of a theoretical or philosophical core, which is necessary to "sav[e] the best tales from becoming mere anecdote or incoherent sensationalism." In this case, the aesthetic needed to be emotional, and was finally provided by Edmund Burke's 1757 work, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, which "finally codif[ied] the gothic emotional experience." Specifically, Burke's thoughts on the Sublime, Terror, and Obscurity were most applicable. These sections can be summarized thus: the Sublime is that which is or produces the "strongest emotion which the mind is capable of feeling"; Terror most often evoked the Sublime; and to cause Terror, we need some amount of Obscurity - we can't know everything about that which is inducing Terror - or else "a great deal of the apprehension vanishes"; Obscurity is necessary to experience the Terror of the unknown. Bloom asserts that Burke's descriptive vocabulary was essential to the Romantic works that eventually informed the Gothic.

The birth of Gothic literature was thought to have been influenced by political upheaval. Researchers linked its birth with the English Civil War, culminating in a Jacobite rebellion (1745) more recent to the first Gothic novel (1764). The collective political memory and any deep cultural fears associated with it likely contributed to early Gothic villains as literary representatives of defeated Tory barons or Royalists "rising" from their political graves in the pages of early Gothic novels to terrorize the bourgeois reader of late eighteenth-century England.

The first work to call itself "Gothic" was Horace Walpole's The Castle of Otranto (1764). The first edition presented the story as a translation of a sixteenth- century manuscript and was widely popular. Walpole, in the second edition, revealed himself as the author which adding the subtitle "A Gothic Story." The revelation prompted a backlash from readers, who considered it inappropriate for a modern author to write a supernatural story in a rational age. Walpole did not initially prompt many imitators. Beginning with Clara Reeve's The Old English Baron (1778), the 1780s saw more writers attempting his combination of supernatural plots with emotionally realistic characters. Examples include Sophia Lee's (1783-5) and William Beckford's (1786).

At the height of the Gothic novel's popularity in the 1790s, the genre was almost synonymous with Ann Radcliffe, whose works were highly anticipated and widely imitated. The Romance of the Forest (1791) and The Mysteries of Udolpho (1794) were particularly popular. In an essay on Radcliffe, Walter Scott, writes of the popularity of Udolpho at the time, "The very name was fascinating, and the public, who rushed upon it with all the eagerness of curiosity, rose from it with unsated appetite. When a family was numerous, the volumes flew, and were sometimes torn from hand to hand." Radcliffe's novels were often seen as the feminine and rational opposite of a more violently horrifying male Gothic associated with Matthew Lewis. Radcliffe's final novel, The Italian (1797), responded to Lewis's (1796).

Other notable Gothic novels of the 1790s include William Godwin's Caleb Williams (1794), Regina Maria Roche's (1798), and Charles Brockden Brown's Wieland (1798), as well as large numbers of anonymous works published by the Minerva Press. In continental Europe, Romantic literary movements led to related Gothic genres such as the German Schauerroman and the French R oman noir. Eighteenth-century Gothic novels were typically set in a distant past and (for English novels) a distant European country, but without specific dates or historical figures that characterized the later development of historical fiction.

Catherine Morland, the naive protagonist of Northanger Abbey (1818), Jane Austen's Gothic parody

The saturation of Gothic-inspired literature during the 1790s was referred to in a letter by Samuel Taylor Coleridge, writing on 16 March 1797, "indeed I am almost weary of the Terrible, having been a hireling in the Critical Review for the last six or eight months - I have been reviewing , the Italian, Hubert de Sevrac &c &c &c - in all of which dungeons, and old castles, & solitary Houses by the Sea Side & Caverns & Woods & extraordinary characters & all the tribe of Horror & Mystery, have crowded on me - even to surfeiting."

The excesses, stereotypes, and frequent absurdities of the Gothic genre made it rich territory for satire. After 1800 there was a period in which Gothic parodies outnumbered forthcoming Gothic novels. In The Heroine by Eaton Stannard Barrett (1813), Gothic tropes are exaggerated for comic effect. In Jane Austen's novel Northanger Abbey (1818), the naive protagonist, a female named Catherine, conceives herself as a heroine of a Radcliffean romance and imagines murder and villainy on every side. However, the truth turns out to be much more prosaic. This novel is also noted for including a list of early Gothic works known as the Northanger Horrid Novels.

Second generation or Jüngere Romantik

The poetry, romantic adventures, and character of Lord Byron-characterized by his spurned lover Lady Caroline Lamb as "mad, bad and dangerous to know"-were another inspiration for the Gothic novel, providing the archetype of the Byronic hero. For example, Byron is the title character in Lady Caroline's Gothic novel (1816).

Byron was also the host of the celebrated ghost-story competition involving himself, Percy Bysshe Shelley, Mary Shelley, and John William Polidori at the Villa Diodati on the banks of Lake Geneva in the summer of 1816. This occasion was productive of both Mary Shelley's Frankenstein, or, The Modern Prometheus (1818), and Polidori's The Vampyre (1819), featuring the Byronic Lord Ruthven. The Vampyre has been accounted by cultural critic Christopher Frayling as one of the most influential works of fiction ever written and spawned a craze for vampire fiction and theatre (and, latterly, film) that has not ceased to this day. Though clearly influenced by the Gothic tradition, Mary Shelley's novel is often considered the first science fiction novel, despite the novel's lack of any scientific explanation for the monster's animation and the focus instead on the moral dilemmas and consequences of such a creation.

John Keats' La Belle Dame sans Merci (1819) and Isabella, or the Pot of Basil (1820) feature mysteriously fey ladies. In the latter poem, the names of the characters, the dream visions, and the macabre physical details are influenced by the novels of premiere Gothicist Ann Radcliffe.

Although ushering in the historical novel, and turning popularity away from Gothic fiction, Walter Scott frequently employs Gothic elements in his novels and poetry. Scott drew upon oral folklore, fireside tails, and ancient superstitions, often juxtaposing rationality and the supernatural. Novels such as The Bride of Lammermoor (1819), in which the character's fates are decided by superstition and prophecy, or the poem (1808), in which a Nun is walled alive inside a convent, illustrate Scott's influence and use of Gothic themes.

A late example of a traditional Gothic novel is Melmoth the Wanderer (1820) by Charles Maturin, which combines themes of anti-Catholicism with an outcast Byronic hero. Jane C. Loudon's (1827) features standard Gothic motifs, characters, and plot, but with one significant twist: it is set in the twenty-second century and speculates on fantastic scientific developments that might have occurred four hundred years in the future, making it and Frankenstein among the earliest examples of the science fiction genre developing from Gothic traditions.

During two decades, the most famous author of Gothic literature in Germany was the polymath E. T. A. Hoffmann. Lewis's influenced and even mentioned it in his novel The Devil's Elixirs (1815). The novel explores the motive of Doppelgänger, a term coined by another German author and supporter of Hoffmann, Jean-Paul, in his humorous novel (1796-1797). He also wrote an opera based on Friedrich de la Motte Fouqué's Gothic story (1816), for which de la Motte Fouqué wrote the libretto. Aside from Hoffmann and de la Motte Fouqué, three other important authors from the era were Joseph Freiherr von Eichendorff (The Marble Statue, 1818), Ludwig Achim von Arnim ( Die Majoratsherren, 1819), and Adelbert von Chamisso ( Peter Schlemihls wundersame Geschichte, 1814). After them, Wilhelm Meinhold wrote The Amber Witch (1838) and Sidonia von Bork (1847).

In Spain, the priest Pascual Pérez Rodríguez was the most diligent novelist in the Gothic way, closely aligned to the supernatural explained by Ann Radcliffe. At the same time, the poet José de Espronceda published The Student of Salamanca (1837-1840), a narrative poem that presents a horrid variation on the Don Juan legend.

Viy, lord of the underworld, from the story of the same name by Gogol

In Russia, authors of the Romantic era include Antony Pogorelsky (penname of Alexey Alexeyevich Perovsky), Orest Somov, Oleksa Storozhenko, Alexandr Pushkin, Nikolai Alekseevich Polevoy, Mikhail Lermontov (for his work Stuss), and Alexander Bestuzhev-Marlinsky. Pushkin is particularly important, as his 1833 short story The Queen of Spades was so popular that it was adapted into operas and later films by Russian and foreign artists. Some parts of Mikhail Yuryevich Lermontov's " A Hero of Our Time" (1840) are also considered to belong to the Gothic genre, but they lack the supernatural elements of other Russian Gothic stories.

The following poems are also now considered to belong to the Gothic genre: Meshchevskiy's "Lila", Katenin's "Olga", Pushkin's "The Bridegroom", Pletnev's "The Gravedigger" and Lermontov's " Demon" (1829-1839).

The key author of the transition from Romanticism to Realism, Nikolai Vasilievich Gogol, who was also one of the most important authors of Romanticism, produced a number of works that qualify as Gothic fiction. Each of his three short story collections features a number of stories that fall within the Gothic genre or contain Gothic elements. They include " Saint John's Eve" and " A Terrible Vengeance" from Evenings on a Farm Near Dikanka (1831-1832), " The Portrait" from Arabesques (1835), and " Viy" from Mirgorod (1835). While all are well known, the latter is probably the most famous, having inspired at least eight film adaptations (two now considered lost), one animated film, two documentaries, and a video game. Gogol's work differs from Western European Gothic fiction, as his cultural influences drew on Ukrainian folklore, the Cossack lifestyle, and, as a religious man, Orthodox Christianity.

Other relevant authors of this era include Vladimir Fyodorovich Odoevsky ( The Living Corpse, written 1838, published 1844, The Ghost, The Sylphide, as well as short stories), Count Aleksey Konstantinovich Tolstoy ( The Family of the Vourdalak, 1839, and The Vampire, 1841), Mikhail Zagoskin ( Unexpected Guests), Józef Sękowski/ Osip Senkovsky ( Antar), and Yevgeny Baratynsky ( The Ring).

Cover of a Varney the Vampire publication, 1845

By the Victorian era, Gothic had ceased to be the dominant genre for novels in England, partly replaced by more sedate historical fiction. However, Gothic short stories continued to be popular, published in magazines or as small chapbooks called penny dreadfuls. The most influential Gothic writer from this period was the American Edgar Allan Poe, who wrote numerous short stories and poems reinterpreting Gothic tropes. His story " The Fall of the House of Usher" (1839) revisits classic Gothic tropes of aristocratic decay, death, and madness. Poe is now considered the master of the American Gothic. In England, one of the most influential penny dreadfuls is the anonymously authored Varney the Vampire (1847), which introduced the trope of vampires having sharpened teeth. Another notable English author of penny dreadfuls is George W. M. Reynolds, known for The Mysteries of London (1844), Faust (1846), Wagner the Wehr-wolf (1847), and The Necromancer (1857). Elizabeth Gaskell's tales "The Doom of the Griffiths" (1858), "Lois the Witch", and "The Grey Woman" all employ one of the most common themes of Gothic fiction: the power of ancestral sins to curse future generations, or the fear that they will. M. R. James, an English medievalist whose stories are still popular today, is known as the originator of the "antiquarian ghost story." In Spain, Gustavo Adolfo Bécquer stood out with his romantic poems and short tales, some depicting supernatural events. Today some consider him the most-read Spanish writer after Miguel de Cervantes.

In addition to these short Gothic fictions, some novels drew on the Gothic. Emily Brontë's Wuthering Heights (1847) transports the Gothic to the forbidding Yorkshire Moors and features ghostly apparitions and a Byronic hero in the person of the demonic Heathcliff. The Brontës' fictions were cited by feminist critic Ellen Moers as prime examples of Female Gothic, exploring woman's entrapment within domestic space and subjection to patriarchal authority and the transgressive and dangerous attempts to subvert and escape such restriction. Emily Brontë's Cathy and Charlotte Brontë's are examples of female protagonists in such roles. Louisa May Alcott's Gothic potboiler, A Long Fatal Love Chase (written in 1866 but published in 1995), is also an interesting specimen of this subgenre. Charlotte Brontë's also shows the Gothic influence, with its supernatural subplot featuring a ghostly nun, and its view of Roman Catholicism as exotic and heathenistic. Nathaniel Hawthorne's novel The House of the Seven Gables, about a family's ancestral home, is colored with suggestions of the supernatural and witchcraft; and in true Gothic fashion, it features the house itself as one of the main characters,

Miss Havisham from Dickens' Great Expectations

The genre also heavily influenced writers such as Charles Dickens, who read Gothic novels as a teenager and incorporated their gloomy atmosphere and melodrama into his works, shifting them to a more modern period and an urban setting; for example, in Oliver Twist (1837-1838), Bleak House (1854) and Great Expectations (1860-1861). These works juxtapose wealthy, ordered, and affluent civilization with the disorder and barbarity of the poor in the same metropolis. Bleak House, in particular, is credited with introducing urban fog to the novel, which would become a frequent characteristic of urban Gothic literature and film (Mighall 2007). Miss Havisham from Great Expectations, is one of Dickens' most Gothic characters. The bitter recluse who shuts herself away in her gloomy mansion ever since being jilted at the altar on her wedding day. His most explicitly Gothic work is his last novel, The Mystery of Edwin Drood, which he did not live to complete and was published unfinished upon his death in 1870. The mood and themes of the Gothic novel held a particular fascination for the Victorians, with their obsession with mourning rituals, mementos, and mortality in general.

Irish Catholics also wrote Gothic fiction in the 19th century. Although some Anglo-Irish dominated and defined the subgenre decades later, they did not own it. Irish Catholic Gothic writers included Gerald Griffin, James Clarence Mangan, and John and Michael Banim. William Carleton was a notable Gothic writer, and converted from Catholicism to Anglicanism.

In Germany, Jeremias Gotthelf wrote The Black Spider (1842), an allegorical work that uses Gothic themes. The last work from the German writer Theodor Storm, The Rider on the White Horse (1888), also uses Gothic motives and themes.

After Gogol, Russian literature saw the rise of Realism, but many authors continued to write stories within Gothic fiction territory. Ivan Sergeyevich Turgenev, one of the most celebrated Realists, wrote Faust (1856), Phantoms (1864), Song of the Triumphant Love (1881), and Clara Milich (1883). Another classic Russian Realist, Fyodor Mikhailovich Dostoyevsky, incorporated Gothic elements into many of his works, although none can be seen as purely Gothic. Grigory Petrovich Danilevsky, who wrote historical and early science fiction novels and stories, wrote Mertvec-ubiytsa ( Dead Murderer) in 1879. Also, Grigori Alexandrovich Machtet wrote "Zaklyatiy kazak", which may now also be considered Gothic.

The 1880s saw the revival of the Gothic as a powerful literary form allied to fin de siecle, which fictionalized contemporary fears like ethical degeneration and questioned the social structures of the time. Classic works of this Urban Gothic include Robert Louis Stevenson's Strange Case of Dr. Jekyll and Mr. Hyde (1886), Oscar Wilde's The Picture of Dorian Gray (1891), George du Maurier's (1894), Richard Marsh's (1897), Henry James' The Turn of the Screw (1898), and the stories of Arthur Machen.

In Ireland, Gothic fiction tended to be purveyed by the Anglo-Irish Protestant Ascendancy. According to literary critic Terry Eagleton, Charles Maturin, Sheridan Le Fanu, and Bram Stoker form the core of the Irish Gothic subgenre with stories featuring castles set in a barren landscape and a cast of remote aristocrats dominating an atavistic peasantry, which represent an allegorical form the political plight of Catholic Ireland subjected to the Protestant Ascendancy. Le Fanu's use of the gloomy villain, forbidding mansion, and persecuted heroine in Uncle Silas (1864) shows direct influence from Walpole's Otranto and Radcliffe's Udolpho. Le Fanu's short story collection In a Glass Darkly (1872) includes the superlative vampire tale , which provided fresh blood for that particular strand of the Gothic and influenced Bram Stoker's vampire novel (1897). Stoker's book created the most famous Gothic villain ever, Count Dracula, and established Transylvania and Eastern Europe as the locus classicus of the Gothic. Published in the same year as Dracula, Florence Marryat's The Blood of the Vampire is another piece of vampire fiction. The Blood of the Vampire, which, like Carmilla, features a female vampire, is notable for its treatment of vampirism as both racial and medicalized. The vampire, Harriet Brandt, is also a psychic vampire, killing unintentionally.

In the United States, notable late 19th-century writers in the Gothic tradition were Ambrose Bierce, Robert W. Chambers, and Edith Wharton. Bierce's short stories were in the horrific and pessimistic tradition of Poe. Chambers indulged in the decadent style of Wilde and Machen, even including a character named Wilde in his The King in Yellow (1895). Wharton published some notable Gothic ghost stories. Some works of the Canadian writer Gilbert Parker also fall into the genre, including the stories in The Lane that had No Turning (1900).

Le Horla (1887) by Guy de Maupassant

The serialized novel The Phantom of the Opera (1909-1910) by the French writer Gaston Leroux is another well-known example of Gothic fiction from the early 20th century, when many German authors were writing works influenced by Schauerroman, including Hanns Heinz Ewers.

Russian Gothic

Until the 1990s, Russian Gothic critics did not view Russian Gothic as a genre or label. If used, the word "gothic" was used to describe (mostly early) works of Fyodor Dostoyevsky from the 1880s. Most critics used tags such as "Romanticism" and " fantastique", such as in the 1984 story collection translated into English as Russian 19th-Century Gothic Tales but originally titled Фантастический мир русской романтической повести, literally, "The Fantastic World of Russian Romanticism Short Story/Novella." However, since the mid-1980s, Russian gothic fiction as a genre began to be discussed in books such as The Gothic-Fantastic in Nineteenth-Century Russian Literature, European Gothic: A Spirited Exchange 1760-1960, The Russian Gothic Novel and its British Antecedents and Goticheskiy roman v Rossii (The Gothic Novel in Russia).

The first Russian author whose work has been described as gothic fiction is considered to be Nikolay Mikhailovich Karamzin. While many of his works feature gothic elements, the first to belong purely under the gothic fiction label is Ostrov Borngolm ( Island of Bornholm) from 1793. Nearly ten years later, Nikolay Ivanovich Gnedich followed suit with his 1803 novel Don Corrado de Gerrera, set in Spain during the reign of Philip II. The term "Gothic" is sometimes also used to describe the ballads of Russian authors such as Vasily Andreyevich Zhukovsky, particularly "Ludmila" (1808) and " Svetlana" (1813), both translations based on Gottfreid August Burger's Gothic German ballad, " Lenore."

During the last years of Imperial Russia in the early 20th century, many authors continued to write in the Gothic fiction genre. They include the historian and historical fiction writer Alexander Valentinovich Amfiteatrov and Leonid Nikolaievich Andreyev, who developed psychological characterization; the symbolist Valery Yakovlevich Bryusov, Alexander Grin, Anton Pavlovich Chekhov; and Aleksandr Ivanovich Kuprin. Nobel Prize winner Ivan Alekseyevich Bunin wrote (1912), which is seen as influenced by Gothic literature. In a monograph on the subject, Muireann Maguire writes, "The centrality of the Gothic-fantastic to Russian fiction is almost impossible to exaggerate, and certainly exceptional in the context of world literature."

Mrs. Danvers in the 1940 film adaptation of Daphne du Maurier's Rebecca.

Gothic fiction and Modernism influenced each other. This is often evident in detective fiction, horror fiction, and science fiction, but the influence of the Gothic can also be seen in the high literary Modernism of the 20th century. Oscar Wilde's The Picture of Dorian Gray (1890) initiated a re-working of older literary forms and myths that became common in the work of Yeats, Eliot, Joyce, Virginia Woolfe, Shirley Jackson, and Angela Carter, among others. In Joyce's Ulysses (1922), the living are transformed into ghosts, which points to an Ireland in stasis at the time and a history of cyclical trauma from the Great Famine in the 1840s through to the current moment in the text. The way Ulysses uses Gothic tropes such as ghosts and hauntings while removing the supernatural elements of 19th-century Gothic fiction indicates a general form of modernist Gothic writing in the first half of the 20th century.

In America, pulp magazines such as Weird Tales reprinted classic Gothic horror tales from the previous century by authors like Poe, Arthur Conan Doyle, and Edward Bulwer-Lytton, and printed new stories by modern authors featuring both traditional and new horrors. The most significant of these was H. P. Lovecraft, who also wrote a conspectus of the Gothic and supernatural horror tradition in his Supernatural Horror in Literature (1936), and developed a Mythos that would influence Gothic and contemporary horror well into the 21st century. Lovecraft's protégé, Robert Bloch, contributed to Weird Tales and penned (1959), which drew on the classic interests of the genre. From these, the Gothic genre per se gave way to modern horror fiction, regarded by some literary critics as a branch of the Gothic, although others use the term to cover the entire genre.

The Romantic strand of Gothic was taken up in Daphne du Maurier's (1938), which is seen by some to have been influenced by Charlotte Brontë's . Other books by du Maurier, such as Jamaica Inn (1936), also display Gothic tendencies. Du Maurier's work inspired a substantial body of "female Gothics," concerning heroines alternately swooning over or terrified by scowling Byronic men in possession of acres of prime real estate and the appertaining droit du seigneur.

The genre also influenced American writing, creating a Southern Gothic genre that combines some Gothic sensibilities, such as the grotesque, with the setting and style of the Southern United States. Examples include Erskine Caldwell, William Faulkner, Carson McCullers, John Kennedy Toole, Manly Wade Wellman, Eudora Welty, V. C. Andrews, Tennessee Williams, Truman Capote, Flannery O'Connor, Davis Grubb, Anne Rice, Harper Lee, and Cormac McCarthy.

Mass-produced Gothic romances became popular in the 1950s, 1960s, and 1970s with authors such as Phyllis A. Whitney, Joan Aiken, Dorothy Eden, Victoria Holt, Barbara Michaels, Mary Stewart, Alicen White, and Jill Tattersall. Many featured covers show a terror-stricken woman in diaphanous attire in front of a gloomy castle, often with a single-lit window. Many were published under the Paperback Library Gothic imprint and marketed to female readers. While the authors were mostly women, some men wrote Gothic romances under female pseudonyms: the prolific Clarissa Ross and Marilyn Ross were pseudonyms of the male Dan Ross; Frank Belknap Long published Gothics under his wife's name, Lyda Belknap Long; the British writer Peter O'Donnell wrote under the pseudonym Madeleine Brent. After the gothic romance boom faded away in the early 1990s, very few publishers embraced the term for mass market romance paperbacks apart from imprints like Love Spell, which was discontinued in 2010. However, in recent years the term "Gothic Romance" is being used to describe both old and new works of Gothic fiction.

Gothic fiction continues to be extensively practised by contemporary authors.

Many modern writers of horror or other types of fiction exhibit considerable Gothic sensibilities - examples include Anne Rice, Susan Hill, Billy Martin, Silvia Moreno-Garcia, Carmen Maria Machado, Neil Gaiman, and Stephen King. Thomas M. Disch's novel The Priest (1994) was subtitled A Gothic Romance and partly modeled on Matthew Lewis' The Monk. Many writers such as Billy Martin, Stephen King, Brett Easton Ellis, and Clive Barker have focused on the body's surface and blood's visuality. England's Rhiannon Ward is among the recent writers of Gothic fiction. Catriona Ward won a British Fantasy Award for Best Horror Novel for her gothic novel in 2016.

Contemporary American writers in the tradition include Joyce Carol Oates with such novels as Bellefleur and A Bloodsmoor Romance, Toni Morrison with her radical novel , about a slave-woman whose murdered baby haunts her, Raymond Kennedy with his novel Lulu Incognito, Donna Tartt with her postmodern gothic horror novel The Secret History, Ursula Vernon with her Edgar Allan Poe-inspired novel What Moves the Dead, Danielle Trussoni with her "gothic extravaganza" The Ancestor, and filmmaker Anna Biller with Bluebeard's Castle, a throwback to 18th-century Gothic novels and 1960s dime-store romances. British writers who have continued in the Gothic tradition include Sarah Waters with her haunted house novel The Little Stranger, Diane Setterfield with her quintessentially Gothic novels The Thirteenth Tale and Once Upon a River, Helen Oyeyemi with her experimental novel White is for Witching, Sarah Perry with her novels Melmoth and The Essex Serpent, and Laura Purcell with her historical novels The Silent Companions and The Shape of Darkness.

Several Gothic traditions have also developed in New Zealand (with the subgenre referred to as New Zealand Gothic or Maori Gothic) and Australia (known as Australian Gothic). These explore everything from the multicultural natures of the two countries to their natural geography. Novels in the Australian Gothic tradition include Kate Grenville's The Secret River and the works of Kim Scott. An even smaller genre is Tasmanian Gothic, set exclusively on the island, with prominent examples including Gould's Book of Fish by Richard Flanagan and The Roving Party by Rohan Wilson. Another Australian author, Kate Morton, has penned several homages to classic gothic fiction, among them The Distant Hours and The House at Riverton.

Southern Ontario Gothic applies a similar sensibility to a Canadian cultural context. Robertson Davies, Alice Munro, Barbara Gowdy, Timothy Findley, and Margaret Atwood have all produced notable exemplars of this form. Another writer in the tradition was Henry Farrell, best known for his 1960 Hollywood horror novel What Ever Happened To Baby Jane? Farrell's novels spawned a subgenre of "Grande Dame Guignol" in the cinema, represented by such films as the 1962 film based on Farrell's novel, which starred Bette Davis versus Joan Crawford; this subgenre of films was dubbed the " psycho-biddy" genre.

The many Gothic subgenres include a new "environmental Gothic" or "ecoGothic". It is an ecologically aware Gothic engaged in "dark nature" and "ecophobia." Writers and critics of the ecoGothic suggest that the Gothic genre is uniquely positioned to speak to anxieties about climate change and the planet's ecological future.

Among the bestselling books of the 21st century, the YA novel by Stephenie Meyer is now increasingly identified as a Gothic novel, as is Carlos Ruiz Zafón's 2001 novel The Shadow of the Wind.

Literary Gothic themes have been translated into other media.

There was a notable revival in 20th-century Gothic horror cinema, such as the classic Universal monsters films of the 1930s, Hammer Horror films, and Roger Corman's Poe cycle.

In Hindi cinema, the Gothic tradition was combined with aspects of Indian culture, particularly reincarnation, for an "Indian Gothic" genre, beginning with (1949) and (1958).

The 1960s Gothic television series Dark Shadows borrowed liberally from Gothic traditions, with elements like haunted mansions, vampires, witches, doomed romances, werewolves, obsession, and madness.

The early 1970s saw a Gothic Romance comic book mini-trend with such titles as DC Comics' The Dark Mansion of Forbidden Love and The Sinister House of Secret Love, Charlton Comics' Haunted Love, Curtis Magazines' Gothic Tales of Love, and Atlas/Seaboard Comics' one-shot magazine Gothic Romances.

Twentieth-century rock music also had its Gothic side. Black Sabbath's 1970 debut album created a dark sound different from other bands at the time and has been called the first-ever "goth-rock" record.

However, the first recorded use of "gothic" to describe a style of music was for The Doors. Critic John Stickney used the term "gothic rock" to describe the music of The Doors in October 1967 in a review published in The Williams Record. The album recognized as initiating the goth music genre is Unknown Pleasures by the band Joy Division. However, earlier bands such as The Velvet Underground also contributed to the genre's distinctive style. Themes from Gothic writers such as H. P. Lovecraft were used among Gothic rock and heavy metal bands, especially in black metal, thrash metal ( Metallica's The Call of Ktulu), death metal, and gothic metal. For example, in his compositions, heavy metal musician King Diamond delights in telling stories full of horror, theatricality, Satanism, and anti-Catholicism.

In role-playing games (RPG), the pioneering 1983 Dungeons & Dragons adventure instructs the players to defeat the vampire Strahd von Zarovich, who pines for his dead lover. It has been acclaimed as one of the best role-playing adventures ever and even inspired an entire fictional world of the same name. The World of Darkness is a gothic-punk RPG line set in the real world, with the added element of supernatural creatures such as werewolves and vampires. In addition to its flagship title Vampire: The Masquerade, the game line features a number of spin-off RPGs such as Werewolf: The Apocalypse, Mage: The Ascension, Wraith: The Oblivion, Hunter: The Reckoning, and Changeling: The Dreaming, allowing for a wide range of characters in the gothic-punk setting. My Life with Master uses Gothic horror conventions as a metaphor for abusive relationships, placing the players in the shoes of minions of a tyrannical, larger-than-life Master.

Various video games feature Gothic horror themes and plots. The Castlevania series typically involves a hero of the Belmont lineage exploring a dark, old castle, fighting vampires, werewolves, Frankenstein's Creature, and other Gothic monster staples, culminating in a battle against Dracula himself. Others, such as Ghosts 'n Goblins, feature a camper parody of Gothic fiction. 2017's Resident Evil 7: Biohazard, a Southern Gothic reboot to the survival horror video game involves an everyman and his wife trapped in a derelict plantation and mansion owned by a family with sinister and hideous secrets and must face terrifying visions of a ghostly mutant in the shape of a little girl. This was followed by 2021's Resident Evil Village, a Gothic horror sequel focusing on an action hero searching for his kidnapped daughter in a mysterious Eastern European village under the control of a bizarre religious cult inhabited by werewolves, vampires, ghosts, shapeshifters, and other monsters. The Devil May Cry series stands as an equally parodic and self-serious franchise, following the escapades, stunts and mishaps of series protagonist Dante as he explores dingy demonic castles, ancient occult monuments and ruined urban landscapes on his quest to avenge his mother and brother. Gothic literary themes appear all throughout the story, such as how the past physically creeps into the ambiguously modern setting, recurrent imagery of doubles (notably regarding Dante and his twin brother), and the persisting melodramas associated with Dante's father's fame, absence, and demonic heritage. Beginning with Devil May Cry 3: Dante's Awakening, Female Gothic elements enter the series as deuteragonist Lady works through her own revenge plot against her murderous father, with the oppressive and consistent emotional and physical abuse instigated by a patriarchal figure serving as a heavy, understated counterweight to the extravagance of the rest of the story. Finally, Bloodborne takes place in the decaying Gothic city of Yharnam, where the player must face werewolves, shambling mutants, vampires, witches, and numerous other Gothic staple creatures. However, the game takes a marked turn midway shifting from gothic to Lovecraftian horror.

Popular tabletop card game Magic: The Gathering, known for its parallel universe consisting of "planes," features the plane known as Innistrad. Its general aesthetic is based on northeast European Gothic horror. Innistard's common residents include cultists, ghosts, vampires, werewolves, and zombies.

The TV series Penny Dreadful (2014-2016) brings many classic Gothic characters together in a psychological thriller set in the dark corners of Victorian London.

The Oscar-winning Korean film has also been called Gothic - specifically, Revolutionary Gothic.

Recently, the Netflix original The Haunting of Hill House and its successor The Haunting of Bly Manor have integrated classic Gothic conventions into modern psychological horror.

Educators in literary, cultural, and architectural studies appreciate the Gothic as an area that facilitates investigation of the beginnings of scientific certainty. As Carol Senf has stated, "the Gothic was... a counterbalance produced by writers and thinkers who felt limited by such a confident worldview and recognized that the power of the past, the irrational, and the violent continue to sway in the world." As such, the Gothic helps students better understand their doubts about the self-assurance of today's scientists. Scotland is the location of what was probably the world's first postgraduate program to consider the genre exclusively: the MLitt in the Gothic Imagination at the University of Stirling, first recruited in 1996.

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2. ^ De Vore, David. "The Gothic Novel". Archived from the original on 13 March 2011. The setting is greatly influential in Gothic novels. It not only evokes the atmosphere of horror and dread, but also portrays the deterioration of its world. The decaying, ruined scenery implies that at one time there was a thriving world. At one time the abbey, castle, or landscape was something treasured and appreciated. Now, all that lasts is the decaying shell of a once thriving dwelling.

3. Davies, David Stuart; Forshaw, Barry, eds. (2015). The Sherlock Holmes Book (First American ed.). New York: DK. pp. 99-100. ISBN 978-1-4654-3849-2.

4. Bayer-Berenbaum, L. 1982. ^ The Gothic Imagination: Expansion in Gothic Literature and Art. Rutherford: Fairleigh Dickinson University Press.

5. Walpole, H. 1764 (1968). ^ The Castle of Otranto. Reprinted in Three Gothic Novels. London: Penguin Press.

6. Nichols "Place and Eros in Radcliffe", Lewis and Bronte, The Female Gothic, ed. Fleenor, Eden Press Inc., 1983.

7. ^ L. Wiley, Jennifer (2015). Shakespeare's Influence on the English Gothic, 1791-1834: The Conflicts of Ideologies (PDF) (PhD dissertation). University of Arizona. hdl:10150/594386.

8. ^ Hewitt, Natalie A. (2013). Something old and dark has got its way": Shakespeare's Influence in the Gothic Literary Tradition (PhD dissertation). Claremont Graduate University. doi:10.5642/cguetd/77.

9. ^ Percival, Robert (2013). From the Sublime to the Numinous: A Study of Gothic Qualities in the Poetry and Drama of Shelley's Italian Period (PDF) (MA thesis). University of Canterbury. doi:10.26021/4865. hdl:10092/11870.

10. ^ Bloom, Clive (2010). Gothic Histories: The Taste for Terror, 1764 to Present. London: Continuum International Publishing Group. p. 2.

11. ^ Bloom, Clive (2010). Gothic Histories: The Taste for Terror, 1764 to Present. London: Continuum International Publishing Group. p. 8.

12. ^ Alexandre-Garner, Corinne (2004). Borderlines and Borderlands:Confluences XXIV. Paris: University of Paris X-Nanterre. pp. 205-216. ISBN 2907335278.

13. ^ Cairney, Christopher (1995). The Villain Character in the Puritan World (PhD dissertation). Columbia: University of Missouri. ProQuest 2152179598.

14. ^ Cairney, Chris (2018). "Intertextuality and Intratextuality; Does Mary Shelley 'Sit Heavily Behind' Conrad's Heart of Darkness?" (PDF). Culture in Focus. 1 (1): 92. Archived from the original (PDF) on 23 July 2018.

15. ^ Sucur, Slobodan (6 May 2007). "Gothic fiction". The Literary Encyclopedia. ISSN 1747-678X.

16. ^ Hale, Terry (2002), Hogle, Jerrold E. (ed.), "French and German Gothic: the beginnings", The Cambridge Companion to Gothic Fiction, Cambridge Companions to Literature, Cambridge: Cambridge University Press, pp. 63-84, ISBN 978-0-521-79124-3

17. ^ Seeger, Andrew Philip (2004). Crosscurrents between the English Gothic novel and the German Schauerroman (PhD dissertation). University of Nebraska-Lincoln. pp. 1-208. ProQuest 305161832.

18. ^ Richter, David H. (28 July 2016). "The Gothic Novel and the Lingering Appeal of Romance". In Downie, James Alan (ed.). The Oxford Handbook of the Eighteenth-Century Novel. Oxford University Press. pp. 471-488. doi:10.1093/oxfordhb/9780199566747.013.021. ISBN 978-0-19-956674-7.

19. Skarda and Jaffe (1981), pp. 33-35 and 132-133.

20. ^ Freye, Walter (1902). "The influence of "Gothic" literature on Sir Walter Scott".

21. ^ Rose Miller, Emma (2019). "Fact, Fiction or Fantasy, Scott's Historical Project and The Bride of Lammermoor" (PDF). Archived (PDF) from the original on 21 May 2022.

22. ^ Joe Walker, Grady (1957). "Scott's Refinement of The Gothic In Certain of The Waverley Novels" (PDF). Archived (PDF) from the original on 21 May 2022.

23. Horner (2002). Neil Cornwell: European Gothic and the 19th-century Gothic literature, pp. 59-82.

24. ^ Johnson, E. D. H. (1966). ""Daring the Dread Glance": Charlotte Brontë's Treatment of the Supernatural in Villette". Nineteenth-Century Fiction. 20 (4): 325-336. doi:10.2307/2932664. JSTOR 2932664.

25. ^ Clarke, Micael M. (2011). "Charlotte Brontë's "Villette", Mid-Victorian Anti-Catholicism, and the Turn to Secularism". ELH. 78 (4): 967-989. doi:10.1353/elh.2011.0030. ISSN 0013-8304. JSTOR 41337561. S2CID 13970585.

26. ^ Killeen, Jarlath (31 January 2014). The Emergence of Irish Gothic Fiction. Edinburgh University Press. p. 51. doi:10.3366/edinburgh/9780748690800.001.0001. ISBN 978-0-7486-9080-0. S2CID 192770214.

27. Muireann Maguire, ^ Stalin's Ghosts: Gothic Themes in Early Soviet Literature (Peter Lang Publishing, 2012; ISBN 3-0343-0787-X), p. 14.

28. ^ Hansen, Jim (2011). "A Nightmare on the Brain: Gothic Suspicion and Literary Modernism". Literature Compass. 8 (9): 635-644. doi:10.1111/j.1741-4113.2010.00763.x.

29. ^ Wurtz, James F. (2005). "Scarce More a Corpse: Famine Memory and Representations of the Gothic in Ulysses". Journal of Modern Literature. 29: 102-117. doi:10.2979/JML.2005.29.1.102. S2CID 161368941. ProQuest 201671206.

30. Linda Parent Lesher, ^ The Best Novels of the Nineties: A Reader's Guide. McFarland, 2000 ISBN 0-7864-0742-5, p. 267.

31. ^ Sussex, Lucy (27 June 2019). "Rohan Wilson's audacious experiment with climate-change fiction". The Sydney Morning Herald. The result is a book that while with one foot in Tasmanian Gothic, does represent a personal innovation.

32. ^ Holgate, Ben (2014). "The Impossibility of Knowing: Developing Magical Realism's Irony in Gould's Book of Fish". Journal of the Association for the Study of Australian Literature (JASAL). 14 (1). ISSN 1833-6027. On one level, the book is a picaresque romp through colonial Tasmania in the early 1800s based on the not very reliable reminiscences of Gould, a convicted forger, painter of fish and inveterate raconteur. On another level, the novel is a Gothic horror tale in its reimagining of a violent, brutal and oppressive penal colony whose militaristic regime subjugated both the imported and original inhabitants.

33. ^ Britten, Naomi; Trilogy, Mandala; Bird, Carmel (2010). "Re-imagining the Gothic in Contemporary Australia: Carmel Bird Discusses Her Mandala Trilogy". Antipodes. 24 (1): 98-103. ISSN 0893-5580. JSTOR 41957860 - via JSTOR. Richard Flanagan, Gould's Book of Fish, would have to be Gothic. Tasmanian history is pro-foundly dark and dreadful.

34. ^ Derkenne, Jamie (2017). "Richard Flanagan's and Alexis Wright's Magic Nihilism". Antipodes. 31 (2): 276-290. doi:10.13110/antipodes.31.2.0276. ISSN 0893-5580. JSTOR 10.13110/antipodes.31.2.0276. Flanagan in Gould's Book of Fish and Wanting also seeks to interrogate assumed complacency through a strangely comic and dark rerendering of reality to draw out many truths, such as Tasmania's treatment of its Indigenous peoples.

35. Simon Estok, "Theorizing in a Space of Ambivalent Openness: Ecocriticism and Ecophobia", ^ Literature and Environment, 16 (2), 2009; Simon Estok, The Ecophobia Hypothesis, Routledge, 2018.

36. ^ Stickney, John (24 October 1967). "Four Doors to the Future: Gothic Rock Is Their Thing". The Williams Record. Archived from the original on 4 May 2013.

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Gothic fiction, sometimes called Gothic horror (primarily in the 20th century), is a loose literary aesthetic of fear and haunting. The name refers to Gothic architecture of the European Middle Ages, which was characteristic of the settings of early Gothic novels.

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Olivia Rodrigo - vampire (Official Video)

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Metropolis world reminds me of steampunk

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Metropolis world reminds me of steampunk

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Original illustration of Jules Verne's Nautilus engine room

"Maison tournante aérienne" (aerial rotating house) by Albert Robida for his book Le Vingtième Siècle, a 19th-century conception of life in the 20th century

Steampunk is a subgenre of science fiction that incorporates retrofuturistic technology and aesthetics inspired by, but not limited to, 19th-century industrial steam-powered machinery. Steampunk works are often set in an alternative history of the Victorian era or the American "Wild West", where steam power remains in mainstream use, or in a fantasy world that similarly employs steam power.

Steampunk features anachronistic technologies or retrofuturistic inventions as people in the 19th century might have envisioned them - distinguishing it from Neo-Victorianism - and is likewise rooted in the era's perspective on fashion, culture, architectural style, and art. Such technologies may include fictional machines like those found in the works of H. G. Wells and Jules Verne. Other examples of steampunk contain alternative-history-style presentations of such technology as steam cannons, lighter-than-air airships, analog computers, or such digital mechanical computers as Charles Babbage's Analytical Engine.

Steampunk may also incorporate additional elements from the genres of fantasy, horror, historical fiction, alternate history, or other branches of speculative fiction, making it often a hybrid genre. As a form of speculative fiction, it explores alternative futures or pasts but can also address real-world social issues. The first known appearance of the term steampunk was in 1987, though it now retroactively refers to many works of fiction created as far back as the 1950s or earlier A popular subgenre is Japanese steampunk, consisting of steampunk-themed manga and anime, with steampunk elements having appeared in mainstream manga since the 1940s.

Steampunk also refers to any of the artistic styles, clothing fashions, or subcultures that have developed from the aesthetics of steampunk fiction, Victorian-era fiction, art nouveau design, and films from the mid-20th century. Various modern utilitarian objects have been modded by individual artisans into a pseudo-Victorian mechanical "steampunk" style, and a number of visual and musical artists have been described as steampunk.

Print (c. 1902) by Albert Robida showing a futuristic view of air travel over Paris in the year 2000 as people leave the opera

Steampunk is influenced by and often adopts the style of the 19th-century scientific romances of Jules Verne, H. G. Wells, Mary Shelley, and Edward S. Ellis's The Steam Man of the Prairies. Several more modern works of art and fiction significant to the development of the genre were produced before the genre had a name. Titus Alone (1959), by Mervyn Peake, is widely regarded by scholars as the first novel in the genre proper, while others point to Michael Moorcock's 1971 novel The Warlord of the Air, which was heavily influenced by Peake's work. The film (1985) was an early cinematic influence, although it can also be considered a precursor to the steampunk offshoot dieselpunk. The Adventures of Luther Arkwright was an early (1970s) comic version of the Moorcock-style mover between timestreams.

In fine art, Remedios Varo's paintings combine elements of Victorian dress, fantasy, and technofantasy imagery. In television, one of the earliest manifestations of the steampunk ethos in the mainstream media was the CBS television series The Wild Wild West (1965-69), which inspired the later film.

Although many works now considered seminal to the genre were published in the 1960s and 1970s, the term "steampunk" originated largely in the 1980s as a tongue-in-cheek variant of " cyberpunk". It was coined by science fiction author K. W. Jeter, who was trying to find a general term for works by Tim Powers (The Anubis Gates, 1983), James Blaylock (Homunculus, 1986), and himself (Morlock Night, 1979, and Infernal Devices, 1987) - all of which took place in a 19th-century (usually Victorian) setting and imitated conventions of such actual Victorian speculative fiction as H. G. Wells' The Time Machine. In a letter to science fiction magazine , printed in the April 1987 issue, Jeter wrote:

Dear Locus,

Enclosed is a copy of my 1979 novel Morlock Night; I'd appreciate your being so good as to route it to Faren Miller, as it's a prime piece of evidence in the great debate as to who in "the Powers/Blaylock/Jeter fantasy triumvirate" was writing in the "gonzo-historical manner" first. Though of course, I did find her review in the March Locus to be quite flattering.

Personally, I think Victorian fantasies are going to be the next big thing, as long as we can come up with a fitting collective term for Powers, Blaylock and myself. Something based on the appropriate technology of the era; like "steam-punks," perhaps....

While Jeter's Morlock Night and Infernal Devices, Powers' The Anubis Gates, and Blaylock's Lord Kelvin's Machine were the first novels to which Jeter's neologism would be applied, the three authors gave the term little thought at the time. They were far from the first modern science fiction writers to speculate on the development of steam-based technology or alternative histories. Keith Laumer's Worlds of the Imperium (1962) and Ronald W. Clark's Queen Victoria's Bomb (1967) apply modern speculation to past-age technology and society. Michael Moorcock's Warlord of the Air (1971) is another early example. Harry Harrison's novel A Transatlantic Tunnel, Hurrah! (1973) portrays Britain in an alternative 1973, full of atomic locomotives, coal-powered flying boats, ornate submarines, and Victorian dialogue. The Adventures of Luther Arkwright (mid-1970s) was one of the first steampunk comics. In February 1980, Richard A. Lupoff and Steve Stiles published the first "chapter" of their 10-part comic strip The Adventures of Professor Thintwhistle and His Incredible Aether Flyer. In 2004, one anonymous author described steampunk as "Colonizing the Past so we can dream the future."

The first use of the word "steampunk" in a title was in Paul Di Filippo's 1995 Steampunk Trilogy, consisting of three short novels: "Victoria", "Hottentots", and "Walt and Emily", which, respectively, imagine the replacement of Queen Victoria by a human/newt clone, an invasion of Massachusetts by Lovecraftian monsters, and a love affair between Walt Whitman and Emily Dickinson.

Japanese steampunk consists of steampunk manga comics and anime productions from Japan. Steampunk elements have consistently appeared in mainstream manga since the 1940s, dating back to Osamu Tezuka's epic science-fiction trilogy consisting of (1948), Metropolis (1949) and (1951). The steampunk elements found in manga eventually made their way into mainstream anime productions starting in the 1970s, including television shows such as Leiji Matsumoto's Space Battleship Yamato (1974) and the 1979 anime adaptation of Riyoko Ikeda's manga Rose of Versailles (1972). Influenced by 19th-century European authors such as Jules Verne, steampunk anime and manga arose from a Japanese fascination with an imaginary fantastical version of old Industrial Europe, linked to a phenomenon called akogare no Pari ("the Paris of our dreams"), comparable to the West's fascination with an "exotic" East.

The most influential steampunk animator was Hayao Miyazaki, who was creating steampunk anime since the 1970s, starting with the television show Future Boy Conan (1978). His manga Nausicaä of the Valley of the Wind (1982) and its 1984 anime film adaptation also contained steampunk elements. Miyazaki's most influential steampunk production was the Studio Ghibli anime film Laputa: Castle in the Sky (1986), which became a major milestone in the genre and has been described by The Steampunk Bible as "one of the first modern steampunk classics." Archetypal steampunk elements in Laputa include airships, air pirates, steam-powered robots, and a view of steam power as a limitless but potentially dangerous source of power.

The success of Laputa inspired Hideaki Anno and Studio Gainax to create their first hit production, Nadia: The Secret of Blue Water (1990), a steampunk anime show which loosely adapts elements from Verne's Twenty Thousand Leagues Under the Sea, with Captain Nemo making an appearance. Based on a concept by Miyazaki, Nadia was influential on later steampunk anime such as Katsuhiro Otomo's anime film (2004). Disney's animated steampunk film Atlantis: The Lost Empire (2001) was influenced by anime, particularly Miyazaki's works and possibly Nadia. Other popular Japanese steampunk works include Miyazaki's Studio Ghibli anime films Porco Rosso (1992) and Howl's Moving Castle (2004), Sega's video game and anime franchise Sakura Wars (1996) which is set in a steampunk version of Meiji/ Taishō era Japan, and Square Enix's manga and anime franchise Fullmetal Alchemist (2001).

Relationships to retrofuturism, DIY craft and making

Truth Coffee, a steampunk café in Cape Town

Steampunk used to be confused with retrofuturism. Indeed, both sensibilities recall "the older but still modern eras in which technological change seemed to anticipate a better world, one remembered as relatively innocent of industrial decline." For some scholars, retrofuturism is considered a strand of steampunk, one that looks at alternatives to historical imagination and usually created with the same kinds of social protagonists and written for the same type of audiences.

One of steampunk's most significant contributions is the way in which it mixes digital media with traditional handmade art forms. As scholars Rachel Bowser and Brian Croxall put it, "the tinkering and tinker-able technologies within steampunk invite us to roll up our sleeves and get to work re-shaping our contemporary world." In this respect, steampunk bears more in common with DIY craft and making.

Art, entertainment, and media

Aura Crystall Instrument - 1987 - by Marc van den Broek

Many of the visualisations of steampunk have their origins with, among others, Walt Disney's film 20,000 Leagues Under the Sea (1954), including the design of the story's submarine the , its interiors, and the crew's underwater gear; and George Pal's film The Time Machine (1960), especially the design of the time machine itself. This theme is also carried over to Six Flags Magic Mountain and Disney parks, in the themed area the "Screampunk District" at Six Flags Magic Mountain and in the designs of The Mysterious Island section of Tokyo DisneySea theme park and Disneyland Paris' Discoveryland area.

Aspects of steampunk design emphasise a balance between form and function. In this it is like the Arts and Crafts Movement. But John Ruskin, William Morris, and the other reformers in the late nineteenth century rejected machines and industrial production. In contrast, steampunk enthusiasts present a "non- luddite critique of technology".

Various modern utilitarian objects have been modified by enthusiasts into a pseudo-Victorian mechanical "steampunk" style. Examples include computer keyboards and electric guitars. The goal of such redesigns is to employ appropriate materials (such as polished brass, iron, wood, and leather) with design elements and craftsmanship consistent with the Victorian era, rejecting the aesthetic of industrial design.

Paris metro station "Arts et Métiers", designed in 1994 to honor the works of Jules Verne

In 1994, the Paris Metro station at Arts et Métiers was redesigned by Belgian artist Francois Schuiten in steampunk style, to honor the works of Jules Verne. The station is reminiscent of a submarine, sheathed in brass with giant cogs in the ceiling and portholes that look out onto fanciful scenes.

The artist group Kinetic Steam Works brought a working steam engine to the Burning Man festival in 2006 and 2007. The group's founding member, Sean Orlando, created a Steampunk Tree House (in association with a group of people who would later form the Five Ton Crane Arts Group) that has been displayed at a number of festivals. The Steampunk Tree House is now permanently installed at the Dogfish Head Brewery in Milton, Delaware.

The Neverwas Haul is a three-story, self-propelled mobile art vehicle built to resemble a Victorian house on wheels. Designed by Shannon O'Hare, it was built by volunteers in 2006 and presented at the Burning Man festival from 2006 through 2015. When fully built, the Haul propelled itself at a top speed of 5 miles per hour and required a crew of ten people to operate safely. Currently, the Neverwas Haul makes her home at Obtainium Works, an "art car factory" in Vallejo, CA owned by O'Hare and home to several other self-styled "contraptionists".

In May-June 2008, multimedia artist and sculptor Paul St George exhibited outdoor interactive video installations linking London and Brooklyn, New York, in a Victorian era-styled telectroscope. Utilizing this device, New York promoter Evelyn Kriete organised a transatlantic wave between steampunk enthusiasts from both cities, prior to White Mischief's Around the World in 80 Days steampunk-themed event.

Tim Wetherell's clockwork universe sculpture at Questacon, Canberra, Australia (September 24, 2009)

In 2009, for Questacon, artist Tim Wetherell created a large wall piece that represented the concept of the clockwork universe. This steel artwork contains moving gears, a working clock, and a movie of the moon's terminator in action. The 3D moon movie was created by Antony Williams.

Steampunk became a common descriptor for homemade objects sold on the craft network Etsy between 2009 and 2011, though many of the objects and fashions bear little resemblance to earlier established descriptions of steampunk. Thus the craft network may not strike observers as "sufficiently steampunk" to warrant its use of the term. Comedian April Winchell, author of the book Regretsy: Where DIY meets WTF, cataloged some of the most egregious and humorous examples on her website "Regretsy". The blog was popular among steampunks and even inspired a music video that went viral in the community and was acclaimed by steampunk "notables".

From October 2009 through February 2010, the Museum of the History of Science, Oxford, hosted the first major exhibition of steampunk art objects, curated and developed by New York artist and designer Art Donovan, who also exhibited his own "electro-futuristic" lighting sculptures, and presented by Dr. Jim Bennett, museum director. From redesigned practical items to fantastical contraptions, this exhibition showcased the work of eighteen steampunk artists from around the globe. The exhibit proved to be the most successful and highly attended in the museum's history and attracted more than eighty thousand visitors. The event was detailed in the official artist's journal The Art of Steampunk, by curator Donovan.

In November 2010, The Libratory Steampunk Art Gallery was opened by Damien McNamara in Oamaru, New Zealand. Created from papier-mâché to resemble a large cave and filled with industrial equipment from yesteryear, rayguns, and general steampunk quirks, its purpose is to provide a place for steampunkers in the region to display artwork for sale all year long. A year later, a more permanent gallery, Steampunk HQ, was opened in the former Meeks Grain Elevator Building across the road from The Woolstore, and has since become a notable tourist attraction for Oamaru.

In 2012, the Mobilis in Mobili: An Exhibition of Steampunk Art and Appliance made its debut. Originally located at New York City's Wooster Street Social Club (itself the subject of the television series ), the exhibit featured working steampunk tattoo systems designed by Bruce Rosenbaum, of ModVic and owner of the Steampunk House, Joey "Dr. Grymm" Marsocci, and Christopher Conte. with different approaches. "[B]icycles, cell phones, guitars, timepieces and entertainment systems" rounded out the display. The opening night exhibition featured a live performance by steampunk band Frenchy and the Punk.

The Nautilus steampunk-style still at The Oxford Artisan Distillery

The stills at The Oxford Artisan Distillery are nicknamed " Nautilus" and " Nemo", named after the submarine and its captain in the Jules Verne 1870 science fiction novel Twenty Thousand Leagues Under the Seas. They were built in copper by South Devon Railway Engineering using a steampunk style.

Author G. D. Falksen, wearing a steampunk-styled arm prosthesis (created by Thomas Willeford), exemplifying one take on steampunk fashion

Steampunk fashion has no set guidelines but tends to synthesize modern styles with influences from the Victorian era. Such influences may include bustles, corsets, gowns, and petticoats; suits with waistcoats, coats, top hats and bowler hats (themselves originating in 1850 England), tailcoats and spats; or military-inspired garments. Steampunk-influenced outfits are usually accented with several technological and "period" accessories: timepieces, parasols, flying/driving goggles, and ray guns. Modern accessories like cell phones or music players can be found in steampunk outfits, after being modified to give them the appearance of Victorian-era objects. Post-apocalyptic elements, such as gas masks, ragged clothing, and tribal motifs, can also be included. Aspects of steampunk fashion have been anticipated by mainstream high fashion, the Lolita and aristocrat styles, neo-Victorianism, and the Romantic Goth subculture.

In 2005, Kate Lambert, known as "Kato", founded the first steampunk clothing company, "Steampunk Couture", mixing Victorian and post-apocalyptic influences. In 2013, IBM predicted, based on an analysis of more than a half million public posts on message boards, blogs, social media sites, and news sources, "that 'steampunk,' a subgenre inspired by the clothing, technology and social mores of Victorian society, will be a major trend to bubble up and take hold of the retail industry". Indeed, high fashion lines such as Prada, Dolce & Gabbana, Versace, Chanel, and Christian Dior had already been introducing steampunk styles on the fashion runways.

In episode 7 of Lifetime's Under the Gunn reality series, contestants were challenged to create avant-garde "steampunk chic" looks. America's Next Top Model tackled steampunk fashion in a 2012 episode where models competed in a steampunk-themed photo shoot, posing in front of a steam train while holding a live owl.

The educational book Elementary BASIC - Learning to Program Your Computer in BASIC with Sherlock Holmes (1981), by Henry Singer and Andrew Ledgar, may have been the first fictional work to depict the use of Charles Babbage's Analytical Engine in an adventure story. The instructional book, aimed at young programming students, depicts Holmes using the engine as an aid in his investigations, and lists programs that perform simple data processing tasks required to solve the fictional cases. The book even describes a device that allows the engine to be used remotely, over telegraph lines, as a possible enhancement to Babbage's machine. Companion volumes- Elementary Pascal - Learning to Program Your Computer in Pascal with Sherlock Holmes and From Baker Street to Binary - An Introduction to Computers and Computer Programming with Sherlock Holmes -were also written.

The August 1927 issue of Amazing Stories featuring work by H. G. Wells

In 1988, the first version of the science fiction tabletop role-playing game was published. The game is set in an alternative history in which certain now discredited Victorian scientific theories were probable and led to new technologies. Contributing authors included Frank Chadwick, Loren Wiseman, and Marcus Rowland.

William Gibson and Bruce Sterling's novel The Difference Engine (1990) is often credited with bringing about widespread awareness of steampunk. This novel applies the principles of Gibson and Sterling's cyberpunk writings to an alternative Victorian era where Ada Lovelace and Charles Babbage's proposed steam-powered mechanical computer, which Babbage called a difference engine (a later, more general-purpose version was known as an Analytical Engine), was actually built, and led to the dawn of the information age more than a century "ahead of schedule". This setting was different from most steampunk settings in that it takes a dim and dark view of this future, rather than the more prevalent utopian versions.

Nick Gevers's original anthology Extraordinary Engines (2008) features newer steampunk stories by some of the genre's writers, as well as other science fiction and fantasy writers experimenting with neo-Victorian conventions. A retrospective reprint anthology of steampunk fiction was released, also in 2008, by Tachyon Publications. Edited by Ann and Jeff VanderMeer and appropriately entitled , it is a collection of stories by James Blaylock, whose "Narbondo" trilogy is typically considered steampunk; Jay Lake, author of the novel Mainspring, sometimes labeled " clockpunk"; the aforementioned Michael Moorcock; as well as Jess Nevins, known for his annotations to The League of Extraordinary Gentlemen (first published in 1999).

Younger readers have also been targeted by steampunk themes, by authors such as Philip Reeve and Scott Westerfeld. Reeve's quartet Mortal Engines is set far in Earth's future where giant moving cities consume each other in a battle for resources, a concept Reeve coined as Municipal Darwinism. Westerfeld's trilogy is set during an alternate First World War fought between the "clankers" ( Central Powers), who use steam technology, and "darwinists" ( Allied Powers), who use genetically engineered creatures instead of machines.

"Mash-ups" are also becoming increasingly popular in books aimed at younger readers, mixing steampunk with other genres. Stefan Bachmann's The Peculiar duology was labeled a "steampunk fairytale," and imagines steampunk technology as a means to stave off an incursion of faeries in Victorian England. Suzanne Lazear's Aether Chronicles series also mixes steampunk with faeries, and The Unnaturalists, by Tiffany Trent, combines steampunk with mythological creatures and alternate history.

While most of the original steampunk works had a historical setting, later works often place steampunk elements in a fantasy world with little relation to any specific historic era. Historical steampunk tends to be science fiction that presents an alternate history; it also contains real locales and persons from history with alternative fantasy technology. "Fantasy-world steampunk", such as China Miéville's Perdido Street Station, Alan Campbell's Scar Night, and Stephen Hunt's Jackelian novels, on the other hand, presents steampunk in a completely imaginary fantasy realm, often populated by legendary creatures coexisting with steam-era and other anachronistic technologies. However, the works of China Miéville and similar authors are sometimes referred to as belonging to the " New Weird" rather than steampunk.

Self-described author of "far-fetched fiction" Robert Rankin has incorporated elements of steampunk into narrative worlds that are both Victorian and re-imagined contemporary. In 2009, he was made a Fellow of the Victorian Steampunk Society.

The comic book series , created by Mike Mignola, and the two films featuring Ron Perlman and directed by Guillermo del Toro, all have steampunk elements. In the comic book and the first (2004) film, Karl Ruprecht Kroenen is a Nazi SS scientist who has an addiction to having himself surgically altered, and who has many mechanical prostheses, including a clockwork heart. The character Johann Krauss is featured in the comic and in the second film, Hellboy II: The Golden Army (2008), as an ectoplasmic medium (a gaseous form in a partly mechanical suit). This second film also features the Golden Army itself, which is a collection of 4,900 mechanical steampunk warriors.

Steampunk-style composite apparatus

Since the 1990s, the application of the steampunk label has expanded beyond works set in recognisable historical periods, to works set in fantasy worlds that rely heavily on steam- or spring-powered technology. One of the earliest short stories relying on steam-powered flying machines is "The Aerial Burglar" of 1844. An example from juvenile fiction is The Edge Chronicles by Paul Stewart and Chris Riddell.

Fantasy steampunk settings abound in tabletop and computer role-playing games. Notable examples include Skies of Arcadia, Rise of Nations: Rise of Legends, and Arcanum: Of Steamworks and Magick Obscura.

One of the first steampunk novels set in a Middle-earth-like world was the Forest of Boland Light Railway by BB, about gnomes who build a steam locomotive. Fifty years later, Terry Pratchett wrote the Discworld novel Raising Steam, about the ongoing industrial revolution and railway mania in Ankh-Morpork.

The gnomes and goblins in World of Warcraft also have technological societies that could be described as steampunk, as they are vastly ahead of the technologies of men, but still run on steam and mechanical power.

The Dwarves of the Elder Scrolls series, described therein as a race of Elves called the Dwemer, also use steam-powered machinery, with gigantic brass-like gears, throughout their underground cities. However, magical means are used to keep ancient devices in motion despite the Dwemer's ancient disappearance.

The 1998 game Thief: The Dark Project, as well as the other sequels including its 2014 reboot, feature heavy steampunk-inspired architecture, setting, and technology.

Amidst the historical and fantasy subgenres of steampunk is a type that takes place in a hypothetical future or a fantasy equivalent of our future involving the domination of steampunk-style technology and aesthetics. Examples include Jean-Pierre Jeunet and Marc Caro's The City of Lost Children (1995), Turn A Gundam (1999-2000), , and Disney's film Treasure Planet (2002). In 2011, musician Thomas Dolby heralded his return to music after a 20-year hiatus with an online steampunk alternate fantasy world called the Floating City, to promote his album A Map of the Floating City.

Another setting is "Western" steampunk, which overlaps with both the weird West and science fiction Western subgenres. One of the earliest steampunk books set in America was The Steam Man of the Prairies by Edward S. Ellis. Recent examples include the TV show The Wild Wild West and the movie adaption Wild Wild West, the Italian comics about Magico Vento, Devon Monk's Dead Iron, and the Big Thunder Mountain Railroad in Disneyland-style Disney Parks around the world.

Kaja Foglio introduced the term "Gaslight Romance", gaslamp fantasy, which John Clute and John Grant define as "steampunk stories ... most commonly set in a romanticised, smoky, 19th-century London, as are Gaslight Romances. But the latter category focuses nostalgically on icons from the late years of that century and the early years of the 20th century-on Dracula, Jekyll and Hyde, Jack the Ripper, Sherlock Holmes and even Tarzan-and can normally be understood as combining supernatural fiction and recursive fantasy, though some gaslight romances can be read as fantasies of history." Author/artist James Richardson-Brown coined the term steamgoth to refer to steampunk expressions of fantasy and horror with a "darker" bent.

Mary Shelley's The Last Man, set near the end of the 21st century after a plague had brought down civilization, was probably the ancestor of post-apocalyptic steampunk literature. Post-apocalyptic steampunk is set in a world where some cataclysm has precipitated the fall of civilization and steam power is once again ascendant, such as in Hayao Miyazaki's post-apocalyptic anime Future Boy Conan (1978, loosely based on Alexander Key's The Incredible Tide (1970)), where a war fought with superweapons has devastated the planet. Robert Brown's novel, The Wrath of Fate (as well as much of Abney Park's music) is set in a Victorianesque world where an apocalypse was set into motion by a time-traveling mishap. Cherie Priest's Boneshaker series is set in a world where a zombie apocalypse happened during the Civil War era. The Peshawar Lancers by S.M. Stirling is set in a post-apocalyptic future in which a meteor shower in 1878 caused the collapse of industrialized civilization. The movie 9 (which might be better classified as "stitchpunk" but was largely influenced by steampunk) is also set in a post-apocalyptic world after a self-aware war machine ran amok. Steampunk Magazine even published a book called A Steampunk's Guide to the Apocalypse, about how steampunks could survive should such a thing actually happen.

The Nautilus as imagined by Jules Verne

In general, this category includes any recent science fiction that takes place in a recognizable historical period (sometimes an alternate history version of an actual historical period) in which the Industrial Revolution has already begun, but electricity is not yet widespread, "usually Britain of the early to mid-nineteenth century or the fantasized Wild West-era United States", with an emphasis on steam- or spring-propelled gadgets. The most common historical steampunk settings are the Victorian and Edwardian eras, though some in this "Victorian steampunk" category are set as early as the beginning of the Industrial Revolution and as late as the end of World War I.

Some examples of this type include the novel The Difference Engine, the comic book series League of Extraordinary Gentlemen, the Disney animated film Atlantis: The Lost Empire, Scott Westerfeld's Leviathan trilogy, and the roleplaying game The anime film (2004) is another example of Victorian steampunk, taking place in an alternate 1866 where steam technology is far more advanced than reality. Some, such as the comic series Girl Genius, have their own unique times and places despite partaking heavily of the flavor of historic settings. Other comic series are set in a more familiar London, as in the Victorian Undead, which has Sherlock Holmes, Doctor Watson, and others taking on zombies, Doctor Jekyll and Mister Hyde, and Count Dracula, with advanced weapons and devices. Another example of this genre is the novels by Roderick Gordon and Brian Williams. These are set in the modern day, but with an underground Victorian world that is working to overthrow the world above. Detective graphic novel series Lady Mechanika is set in an alternative Victorian-like world.

Karel Zeman's film The Fabulous World of Jules Verne (1958) is a very early example of cinematic steampunk. Based on Jules Verne novels, Zeman's film imagines a past that never was, based on those novels. Other early examples of historical steampunk in cinema include Hayao Miyazaki's anime films such as Laputa: Castle in the Sky (1986) and Howl's Moving Castle (2004), which contain many archetypal anachronisms characteristic of the steampunk genre.

"Historical" steampunk usually leans more towards science fiction than fantasy, but a number of historical steampunk stories have incorporated magical elements as well. For example, Morlock Night, written by K. W. Jeter, revolves around an attempt by the wizard Merlin to raise King Arthur to save the Britain of 1892 from an invasion of Morlocks from the future.

Paul Guinan's Boilerplate, a "biography" of a robot in the late 19th century, began as a website that garnered international press coverage when people began believing that Photoshop images of the robot with historic personages were real. The site was adapted into the illustrated hardbound book Boilerplate: History's Mechanical Marvel, which was published by Abrams in October 2009. Because the story was not set in an alternative history, and in fact contained accurate information about the Victorian era, some booksellers referred to the tome as "historical steampunk".

Fictional settings inspired by East Asian rather than Western history, especially those inspired by Chinese history, have been called "silkpunk". The term originated with the author Ken Liu, who defined it as "a blend of science fiction and fantasy [that] draws inspiration from classical East Asian antiquity", with a "technology vocabulary (...) based on organic materials historically important to East Asia (bamboo, paper, silk) and seafaring cultures of the Pacific (coconut, feathers, coral)", rather than the brass and leather associated with steampunk. Liu used the term to describe his Dandelion Dynasty series, which began in 2015. Other works described as silkpunk include Neon Yang's series of novellas, which began in 2017. Lyndsie Manusos of Book Riot has argued that the genre does "not fit in a direct analogy with steampunk. Silkpunk is technology and poetics. It is engineering and language."

Robert Brown and Finn Von Claret from Abney Park

Steampunk music is very broadly defined. Abney Park's lead singer Robert Brown defined it as "mixing Victorian elements and modern elements". There is a broad range of musical influences that make up the steampunk sound, from industrial dance and world music to folk rock, dark cabaret to straightforward punk, Carnatic to industrial, hip-hop to opera (and even industrial hip-hop opera), darkwave to progressive rock, barbershop to big band.

Joshua Pfeiffer (of Vernian Process) is quoted as saying, "As for Paul Roland, if anyone deserves credit for spearheading Steampunk music, it is him. He was one of the inspirations I had in starting my project. He was writing songs about the first attempt at manned flight, and an Edwardian airship raid in the mid-80s long before almost anyone else..." Thomas Dolby is also considered one of the early pioneers of retro-futurist (i.e., Steampunk and Dieselpunk) music. Amanda Palmer was once quoted as saying, "Thomas Dolby is to Steampunk what Iggy Pop was to Punk!"

Steampunk has also appeared in the work of musicians who do not specifically identify as steampunk. For example, the music video of "Turn Me On", by David Guetta and featuring Nicki Minaj, takes place in a steampunk universe where Guetta creates human androids. Another music video is " The Ballad of Mona Lisa", by Panic! at the Disco, which has a distinct Victorian steampunk theme. A continuation of this theme has been used throughout the 2011 album Vices & Virtues, in the music videos, album art, and tour set and costumes. In addition, the album Clockwork Angels (2012) and its supporting tour by progressive rock band Rush contain lyrics, themes, and imagery based around steampunk. Similarly, Abney Park headlined the first "Steamstock" outdoor steampunk music festival in Richmond, California, which also featured Thomas Dolby, Frenchy and the Punk, Lee Presson and the Nails, Vernian Process, and others.

The music video for the Lindsey Stirling song "Roundtable Rival", has a Western steampunk setting.

"20,000 Leagues Under the Sea: Submarine Voyage" ride at Walt Disney World (1971-1994). This ride is based on the 1954 film 20,000 Leagues Under the Sea.

Arliss Loveless character in steampunk wheelchair costume from the 1999 film Wild Wild West

The Fabulous World of Jules Verne (1958) and The Fabulous Baron Munchausen (1962), both directed by Karel Zeman, have steampunk elements. The 1965 television series The Wild Wild West, as well as the 1999 film of the same name, features many elements of advanced steam-powered technology set in the Wild West time period of the United States. Two Years' Vacation (or The Stolen Airship) (1967) directed by Karel Zeman contains steampunk elements.

The BBC series also incorporates steampunk elements. Several storylines can be classed as steampunk, most notably The Evil of the Daleks (1966), wherein Victorian scientists invent a time travel device using mirrors and static electricity. During season 14 of the show (in 1976), the formerly futuristic looking interior set was replaced with a Victorian-styled wood-panel and brass affair. In the 1996 American co-production, the TARDIS interior was re-designed to resemble an almost Victorian library with the central control console made up of an eclectic array of anachronistic objects. Modified and streamlined for the 2005 revival of the series, the TARDIS console continued to incorporate steampunk elements, including a Victorian typewriter and gramophone, for many years.

Dinner for Adele (1977) directed by Oldřich Lipský involves steampunk contraptions. The 1979 film Time After Time has Herbert George "H.G." Wells following a surgeon named John Leslie Stevenson into the future, as John is suspected of being Jack the Ripper. Both separately use Wells's time machine to travel.

The Mysterious Castle in the Carpathians, (1981) directed by Oldřich Lipský, contains steampunk elements. The 1982 American TV series is set in Edwardian England, stars Sam Waterston as Professor Quentin Everett Deverill (from whose initials, by which he is primarily known, the series title is derived, initials which also stand for the Latin phrase quod erat demonstrandum, which translates as "which was to be demonstrated"). The Professor is an inventor and scientific detective, in the mold of Sherlock Holmes. The plot of the Soviet film (1986) centers on a desert planet, depleted of its resources, where an impoverished dog-eat-dog society uses steampunk machines, the movements and functions of which defy Earthly logic.

In making his 1986 Japanese film Castle in the Sky, Hayao Miyazaki was heavily influenced by steampunk culture, the film featuring various airships and steampowered contraptions as well as a mysterious island that floats through the sky, accomplished not through magic as in most stories, but instead by harnessing the physical properties of a rare crystal-analogous to the lodestone used in the Laputa of Swift's Gulliver's Travels-augmented by massive propellers, as befitting the Victorian motif. The first "Wallace & Gromit" animation " A Grand Day Out" (1989) features a space rocket in the steampunk style.

The second half of Back to the Future III (1990) gradually evolves into steampunk.

The Adventures of Brisco County, Jr., a 1993 Fox Network TV science fiction-Western set in the 1890s, features elements of steampunk as represented by the character Professor Wickwire, whose inventions were described as "the coming thing". The short-lived 1995 TV show , on UPN, set in 1876 Arizona, features such classic inventions as a steam-driven "quadrovelocipede", trigoggle and night-vision goggles (à la teslapunk), and stars John de Lancie as a thinly disguised Nikola Tesla.

Alan Moore's and Kevin O'Neill's 1999 The League of Extraordinary Gentlemen graphic novel series (and the subsequent 2003 film adaption) greatly popularised the steampunk genre.

(2004) is a Japanese animated action film directed and co-written by Katsuhiro Otomo (). It is a retro science-fiction epic set in a steampunk Victorian England. It features steamboats, trains, airships and inventors. The 2004 film Lemony Snicket's A Series of Unfortunate Events contains steampunk-esque elements such as costumes and vehicle interiors. The 2007 Syfy miniseries incorporates a considerable number of steampunk-inspired themes into a reimagining of L. Frank Baum's The Wonderful Wizard of Oz. Despite leaning more towards Gothic influences, the "parallel reality" of Meanwhile, City, within the 2009 film contains many steampunk themes, such as costumery, architecture, minimal use of electricity (with a preference for gaslight), and absence of modern technology (such as there being no motorised vehicles or advanced weaponry, and the manual management of information without computers).

The 2009-2014 Syfy television series Warehouse 13 features many steampunk-inspired objects and artifacts, including computer designs created by steampunk artisan Richard Nagy, a.k.a. "Datamancer". The 2010 episode of the TV series entitled "Punked" (which first aired on October 11, 2010) prominently features the steampunk subculture and uses Los Angeles-area steampunks (such as the League of STEAM) as extras. The 2011 film The Three Musketeers has many steampunk elements, including gadgets and airships.

The Legend of Korra, a 2012-2014 Nickelodeon animated series, incorporates steampunk elements in an industrialized world with East Asian themes. ThePenny Dreadful (2014) television series is a Gothic Victorian fantasy series with steampunk props and costumes.

The 2015 GSN reality television game show Steampunk'd features a competition to create steampunk-inspired art and designs which are judged by notable steampunks Thomas Willeford, Kato, and Matthew Yang King (as Matt King). Based on the work of cartoonist Jacques Tardi, April and the Extraordinary World (2015) is an animated movie set in a steampunk Paris. It features airships, trains, submarines, and various other steam-powered contraptions. Tim Burton's 2016 film Alice Through the Looking Glass features steampunk costumes, props, and vehicles.

Japanese anime Kabaneri of the Iron Fortress (2016) features a steampunk zombie apocalypse.

The American fantasy animated sitcom, Disenchantment, created by Matt Groening for Netflix, features a steampunk country named Steamland, led by an odd industrialist named Alva Gunderson voiced by Richard Ayoade, first appears in the season 1 episode, "The Electric Princess." The country is portrayed as driven by logic and is egalitarian, governed by science, rather than magic, as is the case for Dreamland, where the protagonist, Princess Bean, is from. The country has cars, automatic lights, submarines, and other modern technologies, all of which are steam-powered, and references to Groening's other series, . Steamland appears in three episodes of the show's second season, showing an explorers club as part of the country's high society, flying zeppelins, and robots with light bulbs for heads that chase the protagonists through the streets. Some even argued that Steamland is " dieselpunk-inspired."

A variety of styles of video games have used steampunk settings.

Steel Empire (1992), a shoot 'em up game originally released as Koutetsu Teikoku on the Sega Mega Drive console in Japan, is considered to be the first steampunk video game. Designed by Yoshinori Satake and inspired by Hayao Miyazaki's anime film Laputa: Castle in the Sky (1986), Steel Empire is set in an alternate timeline dominated by steam-powered technology. The commercial success of Steel Empire, both in Japan and the West, helped propel steampunk into the video game market, and had a significant influence on later steampunk games. The most notable steampunk game it influenced is Final Fantasy VI (1994), a Japanese role-playing game developed by Squaresoft and designed by Hiroyuki Ito for the Super Nintendo Entertainment System. Final Fantasy VI was both critically and commercially successful, and had a considerable influence on later steampunk video games.

The Chaos Engine (1993) is a run and gun video game inspired by the Gibson/Sterling novel The Difference Engine (1990), set in a Victorian steampunk age. Developed by the Bitmap Brothers, it was first released on the Amiga in 1993; a sequel was released in 1996. The graphic adventure puzzle video games (1993), (1997), Myst III: Exile (2001), and Myst IV: Revelation (all produced by or under the supervision of Cyan Worlds) take place in an alternate steampunk universe, where elaborate infrastructures have been built to run on steam power. The Elder Scrolls (since 1994, last release in 2014) is an action role-playing game where one can find an ancient extinct race called dwemers or dwarves, whose steampunk technology is based on steam-powered levers and gears made of copper-bronze material, which are maintained by magical techniques that have kept them in working order over the centuries.

Sakura Wars (1996), a visual novel and tactical role-playing game developed by Sega for the Saturn console, is set in a steampunk version of Japan during the Meiji and Taishō periods, and features steam-powered mecha robots. Thief: The Dark Project (1998), its sequels, (2000), Thief: Deadly Shadows (2004) and its reboot (2014) are set in a steampunk metropolis. The 2001 computer role-playing game Arcanum: Of Steamworks and Magick Obscura mixed fantasy tropes with steampunk.

The Professor Layton series of games (2007 debut) has several entries showcasing steampunk machinery and vehicles. Notably Professor Layton and the Unwound Future features a quasi-steampunk future setting. Solatorobo (2010) is a role-playing video game developed by CyberConnect2 set in a floating island archipelago populated by anthropomorphic cats and dogs, who pilot steampunk airships and engage in combat with robots. Resonance of Fate (2010) is a role-playing video game developed by tri-Ace and published by Sega for the PlayStation 3 and Xbox 360. It is set in a steampunk environment with combat involving guns.

Impossible Creatures (2003) real-time strategy game inspired by the works of H. G. Welles, especially " The Island of Doctor Moreau". Developed by Relic Entertainment, it sees an adventurer building an army of genetically spliced animals to battle against a mad scientist who has abducted his father. The player's headquarters is a steam-powered "Hovertrain" locomotive, which functions as both a science lab and mobile command center. Coal is a key resource in the game, and must be burned to provide power to the players many base buildings.

The SteamWorld series of games (2010 debut) has the player controlling steam-powered robots. (2011) has a steampunk-themed texture pack. (2011) is a video game developed by Re-Logic. It is a 2D open world platform game in which the player controls a single character in a generated world. It has a Steampunker non-player character in the game who sells items referencing Steampunk.LittleBigPlanet 2 (2011) has the world Victoria's Laboratory, run by Victoria von Bathysphere, which mixes steampunk themes with confections. Guns of Icarus Online (2012) is multiplayer game with steampunk themes.

Dishonored is a series (2012 debut) of stealth games with role-playing elements developed by Arkane Studios and widely considered to be a spiritual successor of the original Thief trilogy. Set in the Empire of the Isles, a steampunk Victorian metropolis where technology and supernatural magic coexist. Steam-powered robots and mechanical combat suits are present as enemies, as well as the presence of magic. The major locations in the Isles include Dunwall, the Empire's capital city which uses the burning of whale oil as the city's main fuel source, and Karnaca, which is powered by wind turbines fed by currents generated by a cleft mountain along the city's borders.

BioShock Infinite (2013) is a first-person shooter game set in 1912, in a fictional city called Columbia, which uses technology to float in the sky and has many historical and religious scenes.

Code: Realize − Guardian of Rebirth (2014), a Japanese otome game for the PS Vita is set in a steampunk Victorian London, and features a cast with several historical figures with steampunk aesthetics. Code Name S.T.E.A.M. (2015), a Japanese tactical RPG game for the 3DS set in a steampunk fantasy version of London where you are a conscript in the strike force S.T.E.A.M. (short for Strike Team Eliminating the Alien Menace). They Are Billions (2017), is a steampunk strategy game in a post-apocalyptic setting. Players build a colony and attempt to ward off waves of zombies. (2018) is a city-building game set in 1888, but where the Earth is in the midst of a great Ice Age. Players must construct a city around a large steampunk heat generator with many steampunk aesthetics and mechanics, such as a "Steam Core."

This section needs expansion with: more steampunk-themed toys. You can help by adding to it.

Mattel's Monster High dolls Robecca Steam and Hexiciah Steam.

The Pullip Dolls by Japanese manufacturer Dal have a steampunk range.

Hornby's world of Bassett-Lowke steampunk models

Cover of Steampunk Magazine

Because of the popularity of steampunk, there is a growing movement of adults that want to establish steampunk as a culture and lifestyle. Some fans of the genre adopt a steampunk aesthetic through fashion, home decor, music, and film. While Steampunk is considered the amalgamation of Victorian aesthetic principles with modern sensibilities and technologies, it can be more broadly categorised as neo-Victorianism, described by scholar Marie-Luise Kohlke as "the afterlife of the nineteenth century in the cultural imaginary". The subculture has its own magazine, blogs, and online shops.

In September 2012, a panel, chaired by steampunk entertainer Veronique Chevalier and with panelists including magician Pop Hadyn and members of the steampunk performance group the League of STEAM, was held at Stan Lee's Comikaze Expo. The panel suggested that because steampunk was inclusive of and incorporated ideas from various other subcultures such as goth, neo-Victorian, and cyberpunk, as well as a growing number of fandoms, it was fast becoming a super-culture rather than a mere subculture. Other steampunk notables such as Professor Elemental have expressed similar views about steampunk's inclusive diversity.

Some have proposed a steampunk philosophy that incorporates punk-inspired anti-establishment sentiments typically bolstered by optimism about human potential. A 2004 Steampunk Manifesto, later republished in SteamPunk Magazine, lamented that most "so-called" steampunk was nothing more than dressed-up recreationary nostalgia and proposed that "authentic" steampunk would "take the levers of technology from the [technocrats] and powerful." American activist and performer Miriam Rosenberg Rocek impersonated anarcha-feminist Emma Goldman to inspire discussions around gender, society and politics. SteamPunk Magazine was edited and published by anarchists. Its founder, Margaret Killjoy, argued "there have always been radical politics at the core of steampunk." Diana M. Pho, a science-fiction editor and author of the multicultural steampunk blog Beyond Victoriana, similarly argued steampunk's " progressive roots" can be traced to its literary inspirations, including Verne's Captain Nemo. Steampunk authors Phenderson Djèlí Clark, Jaymee Goh, Dru Pagliassotti, and Charlie Stross consider their work political.

These views are not universally shared. Killjoy lamented that even some diehard enthusiasts believe steampunk "has nothing to offer but designer clothes." Pho argued many steampunk fans "don't like to acknowledge that their attitudes could be considered ideological." The largest online steampunk community, Brass Goggles, which is dedicated to what it calls the "lighter side" of steampunk, banned discussion about politics. Cory Gross, who was one of the first to write about the history and theory of steampunk, argued that the "sepia-toned yesteryear more appropriate for Disney and grandparents than a vibrant and viable philosophy or culture" denounced in the Steampunk Manifesto was in fact representative of the genre. Author Catherynne M. Valente called the punk in steampunk "nearly meaningless." Kate Franklin and James Schafer, who at the time managed one of the largest steampunk groups on Facebook, admitted in 2011 that steampunk hadn't created the "revolutionary, or even a particularly progressive" community they wanted. Blogger and podcaster Eric Renderking Fisk announced in 2017 that steampunk was no longer punk, since it had "lost the anti-authoritarian, anti-establishment aspects."

Others argued explicitly against turning steampunk into a political movement, preferring to see steampunk as "escapism" or a "fandom". In 2018, Nick Ottens, editor of the online alternate-history magazine Never Was, declared that the "lighter side" of steampunk had won out. To the extent that steampunk is politicized, it appears to be an American and British phenomenon. Continental Europeans and Latin Americans are more likely to consider steampunk a hobby than a cause.

June 19, 2005 marked the grand opening of the world's first steampunk club night, "Malediction Society", in Los Angeles. The event ran for nearly 12 years at The Monte Cristo nightclub, interrupted by a single year residency at Argyle Hollywood, until both the club night and The Monte Cristo closed in April 2017. Though the steampunk aesthetic eventually gave way to a more generic goth and industrial aesthetic, Malediction Society celebrated its roots every year with "The Steampunk Ball".

2006 saw the first "SalonCon", a neo-Victorian/steampunk convention. It ran for three consecutive years and featured artists, musicians ( Voltaire and Abney Park), authors ( Catherynne M. Valente, Ekaterina Sedia, and G. D. Falksen), salons led by people prominent in their respective fields, workshops and panels on steampunk-as well as a seance, ballroom dance instruction, and the Chrononauts' Parade. The event was covered by MTV and The New York Times. Since then, a number of popular steampunk conventions have sprung up the world over, with names like Steamcon ( Seattle), the Steampunk World's Fair ( Piscataway, New Jersey), Up in the Aether: The Steampunk Convention ( Dearborn, Michigan), Steampunk NZ ( Oamaru, New Zealand), Steampunk Unlimited ( Strasburg Railroad, Lancaster, PA). Each year, on Mother's Day weekend, the city of Waltham, MA, turns over its city center and surrounding areas to host the Watch City Steampunk Festival, a US outdoor steampunk festival. In Kennebunk, ME the Brick Store Museum hosts the Southern Maine Steampunk Fair annually. During the first weekend of May, the Australian town of Nimmitabel celebrates Steampunk @ Altitude with some 2,000 attendance.

A steampunk couple at Carnevale 2012 in Boise, Idaho

In recent years, steampunk has also become a regular feature at San Diego Comic-Con International, with the Saturday of the four-day event being generally known among steampunks as "Steampunk Day", and culminating with a photo-shoot for the local press. In 2010, this was recorded in the Guinness Book of World Records as the world's largest steampunk photo shoot. In 2013, Comic-Con announced four official 2013 T-shirts, one of them featuring the official Rick Geary Comic-Con toucan mascot in steampunk attire. The Saturday steampunk "after-party" has also become a major event on the steampunk social calendar: in 2010, the headliners included The Slow Poisoner, Unextraordinary Gentlemen, and Voltaire, with Veronique Chevalier as Mistress of Ceremonies and special appearance by the League of STEAM; in 2011, UXG returned with Abney Park.

Steampunk has also sprung up recently at Renaissance Festivals and Renaissance Faires, in the US. Some festivals have organised events or a "Steampunk Day", while others simply support an open environment for donning steampunk attire. The Bristol Renaissance Faire in Kenosha, Wisconsin, on the Wisconsin/ Illinois border, featured a Steampunk costume contest during the 2012 season, the previous two seasons having seen increasing participation in the phenomenon.

Steampunk also has a growing following in the UK and Europe. The largest European event is " Weekend at the Asylum", held at The Lawn, Lincoln, every September since 2009. Organised as a not-for-profit event by the Ministry of Steampunk (formerly Victorian Steampunk Society), the Asylum is a dedicated steampunk event which takes over much of the historical quarter of Lincoln, England, along with Lincoln Castle. In 2011, there were over 1000 steampunks in attendance. The event features the Empire Ball, Majors Review, Bazaar Eclectica, and the international Tea Duelling final. The Surrey Steampunk Convivial was originally held in New Malden, but since 2019 has been held in Stoneleigh in southwestern London, within walking distance of H. G. Wells's home. The Surrey Steampunk Convivial started as an annual event in 2012, and now takes place thrice a year, and has spanned three boroughs and five venues. Attendees have been interviewed by BBC Radio 4 for Phill Jupitus and filmed by the BBC World Service. The West Yorkshire village of Haworth has held an annual Steampunk weekend since 2013, on each occasion as a charity event raising funds for Sue Ryder's "Manorlands" hospice in Oxenhope. In September 2021, Finland's first steampunk festival was held at the Väinö Linna Square and the Werstas Workers' House in Tampere, Pirkanmaa, Finland.

A 2018 physics Ph.D. dissertation used the phrase "Quantum Steampunk" to describe the author's synthesis of some 19th century and current ideas. The term has not been widely adopted.

A 2012 conference paper on human factors in computing systems examines the use of steampunk as a design fiction for human-computer interaction (HCI). It concludes that "the practices of DIY and appropriation that are evident in Steampunk design provide a useful set of design strategies and implications for HCI".

Steampunk HQ, a museum and arts centre dedicated to steampunk in Oamaru, New Zealand, along with its associated art gallery ( The Libratory), was the world's first steampunk museum. The town of Oamaru and the English city of Lincoln have both claimed the title of "Steampunk Capital of the World".

Air pirate - Common stock character in steampunk

Alternate history - Genre of speculative fiction, where one or more historical events occur differently

Cyberpunk - Postmodern science fiction genre in a futuristic dystopian setting

Cyberpunk derivatives - Subgenres of this speculative fiction genre

Dark academia

Dieselpunk - Science fiction genre

Retrofuturism - Creative arts movement inspired by historic depictions of the future

Retrotronics - The making of electric circuits or appliances using older electric components

Tik-Tok (Oz) - Fictional character from L. Frank Baum's Oz series

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3. Grossman, Lev (December 14, 2009). "Steampunk: Reclaiming Tech for the Masses". . Archived from the original on December 9, 2009. Steampunk has been around for at least 30 years, with roots going back further. An early example is K. W. Jeter's 1979 novel Morlock Night, a sequel to H.G. Wells' The Time Machine in which the Morlocks travel back in time to invade 1890s London. Steampunk - Jeter coined the name - was already an established subgenre by 1990, when William Gibson and Bruce Sterling introduced a wider audience to it in The Difference Engine, a novel set in a Victorian England running Babbage's hardware and ruled by Lord Byron, who had escaped death in Greece. ...

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# data[].attributes.attachment_link.description
Steampunk is a subgenre of science fiction that incorporates retrofuturistic technology and aesthetics inspired by, but not limited to, 19th-century industrial steam-powered machinery. Steampunk works are often set in an alternative history of the Victorian era or the American "Wild West", where steam power remains in mainstream use, or in a fantasy world that similarly employs steam power.